120  INTERIORS 
IN  COLOURS 

DESIGNED  BY  MODERN  ARTISTS 
EDITED  BY  C  H.  BAER 


Univ. of  111.    Library 


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51 


79 


120  INTERIORS  IN  COLOURS 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

University  of  Illinois  Urbana-Champaign 


http://archive.org/details/120interiorsinco00baer 


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120  INTERIORS 
IN  COLOURS 

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DESIGNED  BY  MODERN  ARTISTS 

EDITED  BY  C.  H.  BAER 

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CLEVELAND 

J.  H.  JANSEN,  Successor  to  M.  A.  VINSON 

323—4  CAXTON  BUILDING 

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PRINTED  BY  HOFFMANN-STUTTGART 


THE  FORCE  AND  SIGNIFICANCE 
OF  COLOUR  IN  THE  ROOM 


The  profound  influence  exercised  upon  the 
spiritual  and  physical  well-being-  of  modern 
man  by  the  surroundings  in  which  he  lives  and 
works  is  more  and  more  fully  recognised  in  the 
present  day.  There  is  a  growing  conviction  that 
beneficent  and  lasting  impressions  are  only  to  be 
achieved  by  harmoniously  conceived  and  executed 
interiors,  governed  by  a  delicate  feeling  for  pro- 
portion, colour  and  the  distribution  of  light.  But 
whereas  distinguished  artists  devote  themselves 
with  increasing  zeal  and  success  to  the  invention 
of  beautiful  and  appropriate  forms  for  rooms  and 
furniture,  and  architects  deal  with  the  question  of 
natural  and  artificial  lighting  as  a  fundamental  one 
in  their  plans,  the  colour-harmonies  of  the  rooms 
are  for  the  most  part  left  to  laymen  —  the  future 
inhabitant  and  his  decorators.  One  or  the  other 
of  two  results  generally  follows:  either  the  tradi- 
tional terror  of  colour  leads  to  the  drowning  of 
all  gaiety  and  variety  in  rich  shades  of  brown,  or 
the  opposite  extreme  of  crude  vulgarity  is  adopted. 

V  And  yet  colour  plays  a  more  important  part  in 
the  harmony  of  an  interior.  If  it  is  bad,  insistent 
and  unmodulated,  it  will  destroy  the  most  care- 
fully planned  scheme  of  the  architect,  and  if  it  is 
good,  quiet  and  delicately  gradated,  it  will  mask 
and  even  neutralise  many  a  defect  of  form.  It  may 
be  laid  down  as  an  initial  precept,  that  all  colours 
in  our  living  rooms  must  be  background-colours, 
the  quietly  resolved  harmonies  of  which  leave  the 
leading  motives  to  man  and  his  implements,  and 
serve  to  give  fullness  and  resonance  as  the  frame 
and  foil  for  the  most  varied  moods,  personalities 
and  habits.  V 

V  Such  unity  must,  however,  necessarily  be  "a 
unity  in  multiplicity."  V 

The  theory  that  colours  harmonise  the  better 
the  more  they  lend  to  produce  a  mutual  grayness, 
or  in  other  words,  the  more  strongly  they  are 
opposed  to  each  other  in  a  colour-circle,  has  never 
been  justified  either  by  Nature  or  by  the  concensus 


of  artistic  opinion,  and  it  has  been  proved  faulty 
in  the  decoration  of  rooms.  It  is,  of  course, 
possible  to  get  a  harmonious  effect  by  the  juxta- 
position of  green  and  red  in  a  room,  but  only 
when  we  are  sensible  of  a  common  fundamental 
tone,  which  brings  these  two  contrasting  colours 
into  relation.  For  though  it  is  true  that  man  loves 
contrasts,  he  is  most  sensitive  to  those,  which,  in 
spite  of  their  opposition,  are  evolved  from  one 
another,  or  at  least  bear  some  relation  to  one 
another.  On  the  other  hand,  the  fundamental  tone 
should  not  be  too  definite.  The  apparent  harmony 
between  the  warm  light  yellow  tones  of  certain 
woods  in  expensive  furniture,  and  the  cold  yellow 
of  a  wall  behind  them,  is  never  agreable ;  at  the 
best,  it  has  an  effect  of  chilly  refinement,  and  even 
this  is  easily  disturbed  by  the  intrusion  of  some 
piece  of  colour  from  the  outside  world.  But  if  the 
warm  yellows  of  this  furniture  are  relieved  against 
a  wall  of  indigo  blue  or  Indian  red,  the  harmony 
of  these  distinct  yet  correlated  tones,  which  are 
all  characterised  by  a  strain  of  reddish  yellow, 
produces  a  "unity  in  multiplicity"  which  brings 
everything  together,  and  cannot  be  reduced  to 
discord  even  by  a  variety  of  other  brilliant  colours, 
such  as  those  of  flowers  or  fashionable  dresses. 
Thus  we  see  that  colour-harmony  in  a  room  is  a 
result  of  contrasts,  with  inherent  affinities;  some- 
times the  former,  sometimes  the  latter  should 
predominate,  sometimes  they  should  balance  each 
other,  but  neither  should  ever  be  absent.  V 

V  The  colour-scheme  of  a  room  should  bring  floor, 
walls  and  ceiling  into  unity.  These  three  boun- 
daries of  a  room,  which  form  an  indissoluble  whole 
structurally,  since  not  one  of  them  could  exist 
without  the  other  two,  serve  not  only  to  form  the 
room,  but  also,  as  the  vehicles  of  colour,  create 
the  tone  of  the  interior,  that  quality  which 
makes  passages  and  halls,  saloons,  living-rooms 
and  bedrooms  habitable,  and  suitable  for  their 
various  purposes.  V 


V 


V  The  colouring  of  the  floor  is  often  looked  upon 
as  unimportant ,  even  by  those  who  admit  the 
necessity  of  well  considered  effects  of  colour  in  a 
room.  This  is  a  mistake.  Though  there  are  limits 
to  be  observed,  though  the  effect  of  well  scrubbed 
boards  is  always  cosy,  that  of  polished  parquet 
interesting,  that  of  marble  flags  and  artistic  mosaic 
rich  and  aristocratic,  periods  of  healty  delight  in 
colour  have  always  sought  for  stronger  effects  over 
and  above  these  possibilities  of  expression;  they 
have  found  them  in  the  closely  woven  beauty  of 
brilliant  carpets,  or,  as  in  recent  times  in  quiet 
flat-patterned  linoleums  full  of  novel  and  charming 
combinations  of  colour.  But  the  floor  must  always 
give  colouristic  expression  to  the  fact  that  it  is 
the  base  of  the  room;  it  must  accommodate  itself 
to  the  fundamental  tone  of  the  walls  and  of  the 
furniture;  it  should  be  deeper  and  fuller  in  tone 
than  these,  but  should  never  noisily  disturb  the 
peace  and  unity  of  the  interior.  V 

V  A  wall  without  any  garb  of  colour  is  incom- 
plete. Its  monotony  may  be  modified  and  its 
relation  to  furniture,  the  proportions  of  which  are 
regulated  by  those  of  the  human  form,  may  be 
established  by  its  devision  into  dadoes,  panels, 
and  friezes;  but  colour  is  essential  to  the  complete 
fulfilment  of  its  purpose.  Clothed  in  quiet,  uni- 
form tones,  it  creates  the  characteristic  fundamental 
tone  proper  to  every  room,  the  most  important 
element  in  the  creation  of  a  room-harmony.  Fur- 
niture and  pictures,  utensils  of  metal  or  lustrous 
pottery,  stuffs,  gaily  coloured  carpets  and  brilliant 
flowers  make  up  the  concentrated  decoration, 
which  becomes  livelier  and  more  vital  in  its  effect 
by  contrast  with  the  repose  of  the  background.  In 
the  choice  and  arrangement  of  these  objects  again, 
the  essential  colour-relation  must  be  borne  in  mind, 
even  in  aiming  at  effects  of  contrast,  in  order  to 
preserve   the  all-important    "unity  in  multiplicity." 

The  intrusity  and  the  quality  of  the  dominent 
fundamental  colour  must  be  determined  by  the 
purpose  for  which  the  room  is  to  be  used.  Rooms 
which  are  designed  for  the  work  and  daily  life  of 
their  inhabitants,  require  simple,  unobtrusive  tones; 
rooms  devoted  to  entertainement  and  feasting 
demand  more  vivacious  and  striking  colour-schemes. 
A  deep,  good  red,  the  colour  of  life  itself,  unites 
to  gaiety  and  alertness;  its  effect  is  sensuous  and 
stimulating;  yellow,  in  all  its  original  shades,  is 
sometimes  cold  and  aristocratic,  full  of  solemnity 


and  ceremonial  splendour,  sometimes,  when  it 
shows  a  slight  strain  of  red,  cheerful  and  refreshing. 
Blue,  heavy,  soft  and  comfortable,  soothes  and 
quiets,  conduces  to  repose  and  peaceful  meditation, 
while  green  recalls  the  verdure  of  woods  and 
meadows,  awakens  hope  and  longing,  and  yet  is 
free  from  the  exhilarating  force  of  a  deep  red. 
White,  golden  and  black  rooms  finally  are  full  of 
festal  sounds;  they  demand  mirrors,  gleaming  lights, 
glittering  metals  and  heavy,  costly  stuffs,  melodious 
music  and  handsome,  patrician  denizens,  unop- 
pressed  by  the  burden  of  work. 

V  Various  materials  are  suitable  for  giving  colour 
to  walls;  their  special  quality  should  be  carefully 
considered  in  conjunction  with  the  choice  of  colour. 
We  may  take  it  as  an  elementary  principle  that 
only  natural  colours  should  be  used,  that  is  to  say, 
colours  which  agree  well  with  the  nature  of  the 
material  to  be  coloured.  V 

V  The  warm  tones  of  wood-panelling  tend  to 
destroy  that  neutral  character  which  in  these  days 
is  considered  the  essential  quality  of  a  wall;  as  a 
consequence,  they  are  now  rarely  introduced,  as 
compared  with  their  popularity  in  past  centuries. 
But  in  those  rooms,  the  uses  and  furniture  of 
which  do  not  change  with  every  inhabitant,  panel- 
led walls,  treated  with  a  natural  stain,  may  be 
combined  with  fittings  and  furniture  to  produce  an 
uncommonly  agreable  harmony. 

V  Gaily  coloured  wall-hangings,  which  used  to 
give  a  warm  beauty  to  saloons  and  cabinets  in 
olden  days,  have  become  very  rare.  They  no 
longer  fulfil  our  practical  and  hygienic  require- 
ments, and  attempts  to  revive  their  use  fail  for 
the  most  part  on  account  of  their  costliness. 
Coloured  flocks  and  mattings,  with  which  excellent 
effects  may  be  obtained  here  and  there,  are  hardly 
likely  to  find  a  more  general  popularity.  Though 
they  have  the  warmth  and  colour  of  stuff,  the  are 
difficult  to  clean ,  comparatively  expensive ,  and 
their  colours  are  not  always  durable.  V 

V  Wall-papers, hitherto  the  distinctive  bourgeois 
wall-decoration,  have  a  long  development  in  colour 
and  pattern  behind  them.  After  the  period  of 
debasement  at  the  end  of  the  last  century,  real 
artists  applied  themselves  to  the  creation  of  tones 
and  patterns  which  fulfil  most  admirably  the  modern 
demand  for  quiet  backgrounds.  We  have  now  not 
only  strong  self-coloured  papers,  but  patterns  soft 
in  outline  and  in  colour-transitions,    in   which  the 


VI 


flat  quality  of  printed  ornament  is  admirably 
expressed.  And  as  their  designers  carefully  avoided 
the  imitation  of  textiles,  wall-papers  successfully 
assumed    the    character    of    substitutes    for    these. 

V  The  larger  the  room,  the  greater  the  distance 
at  which  the  inmate  of  the  room  may  be  placed 
from  the  wall,  the  stronger  the  colour  and  the 
bolder  the  masses  of  the  pattern  may  be.  But 
one  of  the  latest  manifestations  of  bad  taste  is  the 
present  fashion  of  hanging  small,  low  rooms  with 
papers,  the  large  blossoms  and  bouquets  of  which 
are  out  of  all  proportion  to  the  other  parts  of  the 
room.  If  it  be  necessary  to  paint  the  woodwork 
of  doors,  windows  and  wainscot,  this  again  must 
be  subordinated  to  the  general  harmony  of  the 
room.  But  it  is  not  in  the  least  essential  that  the 
paint  should  repeat  the  tone  of  the  wallpaper.  White 
and  dull  blue  generally    make  an  excellent  effect. 

V  Walls  painted,  and  decorated  with  stucco  are 
in  these  days  only  beautiful  and  significant  when 
they  represent  the  ornamental  features  of  the  room, 
when,  in  other  words,  the  walls  themselves  have 
something  to  say.  But  if  the  walls  are  to  preserve 
their  character  of  a  background,  the  wall-painting 
must  also  bow  to  the  demand  for  subordination, 
and  must  cover  the  surface  quietly  and  unobtrusi- 
vely with  a  fundamental  tone.  V 

V  The  ceiling  must  not  be  allowed  to  disturb  the 
rythm  of  the  room,  it  must  permit  this  rythm  to 
die  away  above,  and  in  addition,  it  must  add  to 
the  effect  of  height  and  space  in  rooms,  which  in 
accordance  with  modern  domestic  necessities,  are 
for  the  most  part  of  restricted  dimensions.  It  fol- 
lows that,  in  general,  the  ceiling  should  be  smooth 
and  white.  Perhaps  we  are  carrying  this  precept 
rather  too  far  at  the  present  moment.  The  enclo- 
sing function  of  the  ceiling,  and  its  relation  to 
the  wall,  which  is  so  powerfully  reinforced  by 
colour  in  its  quality  of  a  boundary,  should  not  be 
lost  sight  of  altogether;    a  pale  tint,    light  stucco 


ornaments,  or  reticent  decorative  paintings  on  the 
ceiling  often  give  greater  seclusion  and  a  deeper 
sense  of  intimacy  to  a  room.  V 

V  Of  course  there  are  exceptions.  If  the  wall  is 
architectonically  treated,  with  strong  colour  applied 
to  the  divisions,  such  treatment  may  be  extended 
to  the  ceiling.  If  it  should  be  desired  to  make  a 
lofty  room  look  lower  and  more  cosy,  a  dark-toned 
ceiling  will  be  suitable;  and  artistic  ceiling-pain- 
tings, as  well  as  rich,  tinted  stucco  ornamentation 
will  always  be  the  most  valuable  adornment  of  lofty 
halls  and  vaults.  V 

V  The  harmony  of  the  interior  is  unquestionably 
one  of  the  most  important  elements  of  a  happy, 
well-ordered  dwelling;  as  we  have  tried  to  show, 
it  is  influenced,  not  only  by  structure  and  illumi- 
nation, but  by  the  garb  of  colour  in  which  the 
enclosing  elements  are  clothed.  It  is  the  more 
remarkable  therefore,  that  a  systematic  development 
and  education  of  the  colour-sense  inherent  in  every 
human  being  whose  taste  has  not  been  vitiated  is 
so  seldom  essayed.  In  the  whole  range  of  tech- 
nical literature  there  is  up  to  the  present  no  work 
dealing  exhaustively  with  the  important  question 
of  the  application  of  colour  to  our  rooms  from 
the  modern  point  of  view.  The  present  book 
aspires  to  fill  this  void  to  some  extent.  It  contains 
120  careful  reproductions  in  colour  of  the  works 
of  the  most  distinguished  German  and  English 
decorators,  and  offers  its  help  to  stimulate  and 
instruct,  not  only  the  artist  and  the  craftsman  but 
the  layman  in  the  application  of  colour  to  our 
dwellings.  V 

V  The  greater  the  number  of  those  whose  refined 
taste  looks  to  colour  as  a  medium  of  enjoyment, 
the  more  surely  do  we  approach  that  healthiness 
in  the  art  of  the  interior  which  is  so  necessary  as 
the  basis  of  true  domestic  culture.  To  give  a 
powerful  impetus  to  this  process  is  another  im- 
portant object  of  this  work.  V 


VII 


Hans  &  Henry  Lassen -Bremen 

Vestibule  —  Watercolour  by  L.  Gunkel -Bremen 


Schneidereit  &  Wuensche-Friedenau-Berlin 
Vestibule  —  Watercolour  and  decorative  paintings  by  M.  Pechstein- Berlin 


Kurt  Boschen-Moers  on -the -Rhine 
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Vestibule       Watercolour  and  decorative  paintings  by  M  Pechstein-Beilin 


Prof.  Oswin  Hempel  -  Dresden 

Motel  Vestibule 


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Edgar  Wood -Manchester 
Staircase 


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C.  R.  Ashbee- London 
Hall 


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Leopold  Bauer-Vienna 

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Edgar  Wood -Manchester 

Staircase 


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Hans  &  Henry  Lassen -Bremen 

Hall  —  Watercolour  by  L.  Gunkel-  Bremen 


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Edgar  Wood -Manchester 
Hall 


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Max  Hans  Kuehne-  Dresden 

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Ziesel  &  Friederich- Cologne 
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Hans  Heller -Darmstadt 

Hall 


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Prof.  William  Lossow  &  Max  Hans  Kueline- Dresden 

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F.  W.  Jochem-Kiel 

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Smoking -Room  —  Watercolour  by  F.  Beckert- Dresden 


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Gcsellius,  Lindgrcn  &  Saarinen,  Helsingfors 
Smoking -Room 


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Prof.  G.  Ha!mbubcr-I  lanovrc 
Library 


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Prof.  Alfred  Grenander-Berlin 
Fireplace 


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108 


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Runge  &  Scotland -Bremen 

A  Servant's  bedroom 


116 


Prof.  Tlieodor  Fischer-Munich 
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117 


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CONTENTS 


Ashbee,  C.  R.,  London 

Hall 19 

Bauer,  Leopold,  Vienna 

Hall 20 

Bembe,  A.,  Mayence 

Hall 23 

Dining-Room 69 

Benirschke,  Max,   Dusseldorf 

Dining-Room 80 

Berndl,  H.,  Munich 

Dining-Room 71 

Panelled  Dining-Room 75 

Berndl,  Richard,  Prof.,  Munich 

Hall 4 

Hall  of  a  Country  House 34 

Music-Room 60 

Dining-Room 66 

Council-Chamber  in  a  town-hall 118 

Billing,  H.,  Prof.,   Karlsruhe 

Exhibition  Room 53 

Music-Room 59 

Birkenholz,  Peter,  Munich 

Hall 27 

Music-Room 58 

Dining-Room 79 

Boschen,  Kurt,    Moers  on-the-Rhine 

Vestibule 3 

Cissarz,  J.  V.,  Prof.,  Stuttgart 

Stained  windows  and  decorations  of  a  staircase  28 

Curjel  &  Moser,   Karlsruhe 

Dining-Room 63 

Bedroom 106 

Bedroom Ill 

Danner,  Hans,   Munich 

Dining-Room 72 

Erlwein,   Hans,  Prof.,  Dresden 

Council-Chamber 119 

Fischer,  Theodore,  Prof.,  Munich 

Room  in  a  Country  Inn 116 

Gesellius,  Lindgren  &  Saarinen,   Helsingfors 

Design  for  a  hall 16 

Smoking-Room 49 

Drawing-Room 62 

Dining-Room 77 

Smoking-Room 88 

Smoking-Room 98 


Grenander,  Alfred,  Berlin 

Fireplace 51 

Drawing-Room 92 

Guhr,  Richard,  Prof.,  Dresden 

Decorative  Paintings 10 

Hahn,  O.,  Dresden 

Sitting-Room 89 

Halmhuber,  G.,  Prof.,  Hanover 

Library 50 

Heller,  Hans,  Hamburg 

Hall 29 

Dining-Room 74 

Sitting-Room 83 

Living-Room 86 

Dining-Room 96 

Hempel,  Oswin,  Prof.,  Dresden 

Hotel  Vestibule      .     .     . 6 

Hall 15 

Breakfast-Room  for  a  hotel 85 

Hoffmann,  Joseph,  Prof.,  Vienna 

Hall 18 

Hohlwein,  L.,  Munich 

Hotel  Bedroom 107 

Hohrath,  Alexander,  Dresden 

Dining-Room 99 

Holub,  Adolphe,  Vienna 

Living-Room       90 

Hommes,  Robert,   Darmstadt 

Drawing-Room 38 

Jochem,  F.  W.,  Kiel 

Hall  Fireplace 31 

Corner  of  Smoking-Room 47 

Kaldenbach,  Fritz,  Aachen 

Dining-Room 64 

Kammerer,  Marcel,  Vienna 

Hotel  dining-room 67 

Kolbe,  Rud.,   Dresden 

Cottage  dining-room 102 

Kreis,  W.,  Prof.,  Dusseldorf 

Smoking-Room 48 

Exhibition  Room  of  a  Porcelain  Manufactory     54 
Dining-Room 70 

Krug,  Jacob,   Darmstadt 

Drawing-Room 39 

Kuehne,  Max  Hans,  Dresden 

Hall 25 


Kuehne,  Max  Hans,  Dresden 

Winter-Garden,  executed  by  Villeroy  &  Boch  81 

Interior  of  a  Villa 87 

Lassen,  H.,  Dresden 

Staircase  landing      ...          8 

Lassen,  Hans  &  Henry,  Bremen 

Vestibule 1 

Hall 22 

Drawing-Room 42 

Dining-Room 68 

Linnemann,  R.,  Frankfort 

Dining-Room 76 

Lossow,William,  Prof. &  Kuehne,  M.Hans,  Dresden 

Hall 30 

Room  for  a  Connoisseur 52 

MacLachlan,  L.,  London 

Boudoir 43 

Reading-Room 57 

Hotel  Bedroom 108 

Margold,  Emanuel  J.,  Vienna 

Hotel  Dining-Room 78 

Merry,  Tom,  London 

Hall 32 

Hall 35 

Bedroom 112 

Moelter,  Anton,  Berlin 

Sitting-Room 93 

Paul,  Bruno,  Prof.,  Berlin 

Hotel  Drawing-Room 40 

Smoking-Room 46 

Pfeifer  &  Grossmann,   Karlsruhe 

From  Hall  to  Garden 82 

Corner  of  a  Studio 101 

Design  for  a  Stove 105 

Poessenbacher,  Anton,  Munich 

Bedroom 110 

Prutscher,  O.,  Prof.,  &  Geyling,  R.,  Vienna 

Dining-Room 73 

Ranninger,  Jean,  Mayence 

Hall 104 

Runge  &  Scotland,  Bremen 

Scheme  of  a  Hall  for  a  cottage 33 

Music-Room 61 

Sitting-Room 84 

A  servant's  bedroom        115 


Saarinen,  Eliel,  Helsingfors 

Boudoir 44 

Schaefer,  Philip,  Dusseldorf 

Smoking-Room 45 

Living-Room 91 

Bedroom 109 

Schaudt,  Emil,  Berlin 

Staircase  Landing 9 

Hall 26 

Exhibition  Room 55 

Schilling  &  Graebner,  Dresden 

Bath-Room 113 

Schleinitz,  M.,  Dresden 

Anteroom 13 

Schneidereit  &  Wuensche,  Friedenau 

Vestibule 2,  5 

Schumacher,  Prof.,  Hamburg 

Dining-Room 95 

Scott,  M.  H.  Baillie,  Bedford 

Hall  in  Country  House 41 

Sitting-Room 100 

Village  Hall        120 

Staynes,  P.  A.  &  Wolfe,  A.  T.,  London 

Vestibule 12 

Troost,  P.  L.,  Munich 

Dining-Room 65 

Van  den  Bosch,  Jac,  Amsterdam 

Dining-Room 103 

Vogelgesang,  A.,  Warmbrunn 

Drawing-Room   .     .     , 37 

Smoking-Room 97 

Wipf,   J.,   London 

Hall 36 

Dining-Room 94 

Wood,  Edgar,  Manchester 

Staircase 7 

Staircase  landing 11 

Hall 14 

Hall 17 

Staircase 21 

Hall 24 

Library 56 

Attic  Studio 114 

Hall 117 

Ziesel  &  Friederich,  Cologne 

Staircase 28 


